Name: AKA
Genre: Action
Released: 2023-04-28T00:00:00+00:00
Cast: Alban Lenoir, Éric Cantona, Thibault de Montalembert, Sveva Alviti, Saïdou Camara

The opening sequence of Morgan S. Dalibert’s “AKA” (2023) is a relentless sprint through moral ambiguity. Alban Lenoir, as Adam Franco, a special ops agent with the kind of icy precision that could make a glacier sweat, infiltrates a crime syndicate not just with weapons but with calculated charm. The camera lingers on his hands—strong, steady—as he shakes them with criminals, a visual motif that suggests control, competence, and something darker beneath. This isn’t just an action film; it’s a study in tension, where every handshake could be the last.

What we get is a French-language action thriller that knows how to stage a fight but stumbles when it tries to make us care about its undercover drama. Lenoir, best known for his work in “The Family Album,” delivers a performance that’s all sharp angles and suppressed emotion. His Adam Franco is a man who could dismantle an entire operation with a penknife and a whisper, but the film struggles to give him anything deeper than surface-level conflict. The premise—a steely agent bonding with the crime boss’s young son—promises moral complexity, but “AKA” never fully commits to exploring it.

The action sequences are where Dalibert shines. The film’s set pieces are brutal, efficient, and shot with a stark beauty that recalls the gritty realism of Jacques Audiard’s work. The standout is a sequence in which Adam takes out an entire room full of bad guys using only a chair and his own two hands. It’s a visceral burst of violence, filmed in tight close-ups that make every punch land like a hammer blow. The sound design amplifies the impact—bones cracking, bodies hitting the floor—creating an immersive experience that pulls you into the chaos.

Yet for all its kinetic energy, “AKA” falters when it tries to wring drama from its undercover narrative. The bond between Adam and the young son feels rushed, a missed opportunity to explore the moral dilemmas of an agent who starts to question his mission. Éric Cantona, playing Victor Pastore, the crime boss, delivers a performance that’s all charm and menace, but his character arc is one-note. Thibault de Montalembert as Kruger and Sveva Alviti as Natalya add layers to the criminal underworld, but their potential is never fully realized.

The film’s pacing also becomes an issue in its second act. Where the first half is a tight, suspenseful build-up, the middle section drags as it tries to establish relationships and moral conflicts that feel underdeveloped. The intrigue and suspense that were so palpable in the opening sequences dissipate, replaced by prolonged exposition that slows the momentum. Lucille Guillaume as Hélène and Kevin Layne as Moktar Al Tayeb contribute to the tension but are sidelined by the film’s focus on Adam’s internal struggle.

Where “AKA” truly excels is in its originality within the genre. Dalibert avoids the tropes of typical action thrillers, opting instead for a more grounded approach that feels refreshingly real. The film’s use of practical effects and minimal CGI adds to its authenticity, making the violence feel visceral and the stakes higher. It’s a film that understands the power of restraint, where every gunshot echoes and every punch lands with weight.

But the performances are where “AKA” could have elevated itself into something truly special. Lenoir is compelling as Adam, but his character lacks the psychological depth to make his moral dilemma resonating. The supporting cast, including Cantona and Montalembert, deliver solid performances, but they’re hampered by a script that doesn’t give them enough to work with.

The film’s themes of morality and identity are intriguing but underdeveloped. Adam’s struggle with his mission is a rich vein to mine, but “AKA” never fully explores the emotional fallout of his actions. The relationships he forms—with the young son, with Natalya, with Kruger—feel rushed, as if the film is in such a hurry to get to the next action sequence that it forgets to stop and breathe.

In comparison to other recent action thrillers, “AKA” holds its own but doesn’t stand out. Films like “The Killer” (2023) and “John Wick: Chapter 4” (2023) have raised the bar for the genre, delivering both visceral action and compelling narratives. “AKA” delivers on the former but falls short on the latter.

Ultimately, “AKA” is a film that excels in its action sequences but stumbles in its attempts at emotional depth. It’s a shame because Lenoir’s performance is auspicious, and the premise has the potential for something truly special.